I think everyone who loves comedy has a favorite Steve Martin moment. A lot of people would cite his performance of King Tut on Saturday Night Live or maybe one of the many skits where he played a wild and crazy guy with Dan Aykroyd. Other remember him as The Jerk or playing Cyrano in Roxanne. I’ve always liked his performance in Bowfinger, in which both he and Eddie Murphy were in top form.
However, if I had to pick my favorite Steve Martin moment, it would be his holiday wish from SNL‘s Christmas ’86 episode. Even though it’s rare that anyone has anything nice to say about Saturday Night Live’s 1986 season, Steve Martin’s Holiday Wish is such a classic that it’s been included in almost every SNL holiday special since it originally aired. Is it too early to share a Christmas wish list? Not when Steve Martin is the one doing the wishing and it’s a great moment in television history!
Today, the Shattered Lens wishes actor and comedian Steve Martin a happy 77th birthday. Originally from Texas, Martin has been a cultural mainstay for longer than I’ve been alive. He’s a master of both comedy and drama, as anyone who has watched Only Murders In The Building can tell you.
And he can sing too!
Here he is, performing Maxwell’s Silver Hammer in 1978’s Sgt. Pepper’s Lonely Hearts Club Band. Though this was not Martin’s film debut, it was his first “big” role. Steve Martin was 33 years old here. Remarkably, he only seems to have aged a few years in the decades since appearing in this film.
I will be the first to admit that I was hoping that it would turn out that this video was directed by that Steve Martin. But no, the directors of this video were twin brothers Douglas Brian Martin and Steven M. Martin. Along with a few acting appearances (they played “angry twins” in Fast Times At Ridgemont High), Steve Martin is credited with directed the documentary Theremin: An Electronic Odyssey in 1993.
According to the imdb, Doug Martin ” (d)irected the following music videos: “Murder, Mystery & Mayhem (1981)” for Peter Ivers “No Smoking (1982)” for John Waters “Shock Value (1982)” for John Waters “I Predict (1982)” for Sparks “Get Up And Go (1982)” for The Go-Go’s “Gone Daddy Gone (1983)” for Violent Femmes “Barefoot Rock (1983)” for The Blasters “One Red Rose (1983)” for The Blasters “The Cutting Edge (1983)” for MTV “Christian Girls Problems (1983)” for The Gleaming Spires “Head Over Heels (1983)” for The Go-Go’s “Sound Of The Rain (1984)” for Rank & File “Livin’ A Little, Laughin’ A Little (1985)” for John Hiatt/Elvis Costello “When Angels Kiss (1985)” for Gary Myrick “Stick Around (1985)” for Julian Lennon “Lips To Find You (1986)” for Teena Marie “Situation #9 (1986)” for Club Nouveau.”
This song features not one but two xylophone solos.
What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable? This feature is all about those insomnia-inspired discoveries!
If, at 3 in the morning on Wednesday, you were struggling to get to sleep, you could have flipped over to Flix and watched the 1998 film, The Spanish Prisoner.
Joe Ross (Campbell Scott) is an engineer. He’s a quiet, polite, and always considerate man. At one point, he’s told that he’s “too nice” and, watching him, you can’t help but agree. Joe works in an otherwise bland office where the walls are covered with menacing posters that, in an accusatory manner, announce, “SOMEONE TALKED!” Paranoia is in the air but Joe, for whatever reason, seems to be incapable of sensing it.
Joe has just invented something called The Process. It’s deliberately left obscure just what exactly The Process is but we do know that it stands to make Joe’s boss, Mr. Klein (Ben Gazzara), a lot of money. When Mr. Klein invites Joe and the company lawyer, George (Ricky Jay), to an island retreat, Joe assumes that it’s so Mr. Klein can offer him a lucrative cash bonus as a reward for creating the process. Instead, it turns out that Mr. Klein has no interest in giving George any extra reward. Instead, Klein feels that Joe should just be happy to be a part of the company.
On the island, Joe takes a picture of a mysterious man named Jimmy Dell (Steve Martin). Jimmy offers to give Joe a thousand dollars for the camera. Joe, instead, hands over the camera for free. Later, Jimmy tracks down Joe and apologizes for his behavior. He and Joe strike up an unlikely friendship on the island. Upon learning that Joe will soon by flying back to New York, Jimmy gives Joe a package to deliver to his sister. Joe agrees.
It’s not until Joe is on the plane and in the air that he starts to wonder about what’s inside the package. It doesn’t help that his secretary, Susan (Rebecca Pidgeon), won’t stop talking about you never really know anyone and how easy it is to trick an innocent person into becoming a drug mule. Finally, Joe steps into the plane’s lavatory, unwraps the package, and….
And that’s all I can tell you without spoiling the film. The Spanish Prisoner is a film about a dizzying confidence game, one that is full of nonstop twists and turns. No one in the film turns out to be who you thought they were when you first saw them. At times, it can be a bit hard to keep up with the plot but that’s actually a part of the fun. The Spanish Prisoner keeps you guessing and, fortunately, Campbell Scott gives a likable enough performance that you’re willing to explore the maze at the heart of this film with him. Steve Martin is also wonderfully sinister as Jimmy, using his own “nice guy” image to keep us off-balance.
As you might expect from a film written and directed by David Mamet, the dialogue is heavily stylized. The characters all move and speak at their own odd rhythm. Lines that should be innocuous take on a dangerous edge and it becomes impossible not try to read between the lines of even the simplest of exchanges. It creates a rather dream-like atmosphere, one in which you’re never quite sure what’s real and what’s just another part of the game.
The Spanish Prisoner is an intriguing mystery and one that seems like it will definitely reward repeat viewings.
Quick, name a film noir that stars Humphrey Bogart, James Cagney, Joan Crawford, Bette Davis, Ava Gardner, Cary Grant, Veronica Lake, Alan Ladd, Vincent Price, and… Steve Martin? There’s only one: 1982’s DEAD MEN DON’T WEAR PLAID, the second collaboration between that “wild and crazy guy” Martin and comedy legend Carl Reiner. I remember, back in 1982, being dazzled by editor Bud Molin’s seamless job of incorporating classic film footage into the new narrative while simultaneously laughing my ass off. Things haven’t changed – the editing still dazzles, and I’m still laughing!
Martin and Reiner’s first comedy, 1979’s THE JERK, was an absurdist lover’s delight, and this time around the two, along with cowriter George Gipe, concocted this cockeyed detective saga after combing through old black and white crime dramas (we didn’t call ’em film noir back then) and cherry picking scenes to build their screenplay around. Martin plays PI…
Back when I went through all the David Lynch music videos, I specifically mentioned this one because it is frequently credited to David Lynch. If you do a Google search, then you’ll turn up lots of reviews and lists of Lynch music videos that include it. Even Wikipedia disagrees about it. If you go to the list of David Lynch music videos, then it’ll say he directed it. However, if you go to the article written about the song and video, then you’ll find out that it wasn’t. That article cites a book called Talent Is An Asset: The Story Of Sparks by Daryl Ealesa. It says the video was directed by Doug Martin and Steve Martin in the style of Lynch. I haven’t read it yet. Regardless, I just bought it so I can provide you with an excerpt covering it:
‘I Predict’ came with a striking video that fell foul of the conservatism of MTV. Directed in the style of David Lynch by group friends, identical twins and occasional actors Doug and Steve Martin, it is crammed full of strangeness. Shot in a dimly lit bar outside LA, Ron, in drag, develops the bride theme from the album’s cover with Russell still wearing the cover’s wedding suit. And Ron is stripping. And Russell is watching. Something is clearly not right. With the attendant promotion and the video’s notoriety, ‘I Predict’ reached number 60 on the Billboard Hot 100. Sparks had finally achieved a US Top 100 single after a decade of trying.
Below is the album cover the excerpt speaks of:
The funny thing is that despite being mis-credited to David Lynch, it does have a connection to him beyond being done in his style. David Lynch made a music video for the song Thank You, Judge by his group called BlueBOB that was made up of him and Jeff Neff. At the end of that music video, you have Eli Roth and Naomi Watts laughing at Jeff Neff about to receive an anal probe. Anyone who has watched Cabin Fever (2002) and David Lynch’s work, knows that from the opening to the very end, you’d be thinking of Lynch regardless of whether you knew there was any connection between them. From the Blue Velvet (1986) style opening credits to Party Cop to the person in the rabbit suit. There’s even a thanks to him in the credits. 7 years later, director Ti West made a sequel that is basically a lover-letter to 70s and 80s exploitation films. I watched all the Cabin Fever movies recently, and something caught my eye in the credits on Cabin Fever 2: Spring Fever (2009). They used the Sparks song Eaten By The Monster Of Love, which is from the album, Angst In My Pants, that includes the song I Predict. Even without having directed this video, Lynch is still connected to it beyond the use of his style in the video.
David Lynch being credited for this in so many places doesn’t surprise me. I have a copy of Madonna: The Immaculate Collection. It’s a compilation of her early music videos. It lists Mary Lambert as the producer of Borderline–not the director.
You’d think that would be pretty definitive. In fact, there’s a reference to Star Wars in Pet Sematary II (1992)–Bruce Logan having done visual effects on Star Wars.
However, if you read the book I Want My MTV, then you get information straight from Lambert and others that she did indeed direct Borderline.
The point is that it’s easy for this stuff to get confusing, and as a result, you can end up with these kinds of situations.
Cold Open: There’s an Old Man walking around who sees corpses of kids on the ground and in a tree and doesn’t seem to care. Frankly, this is kind of how I felt about this episode. It wasn’t great. It had popping moments, but an overdose of sighs, pauses, and stares. I mean Twilight levels of stares. The pilot and episode 2 were written by Don Mancini of Child’s Play and Halloween Wars Season 6. I was really surprised that Don wrote episode 2. The pilot was creepy and popped, but episode 2 fizzled. This was a missed opportunity for a good show. Here we go.
Katie is back home and watching Candle Cove on the tv and then stabs her brother with a hook. Then, the show slows down to a crawl again.
Mike’s mom investigates the show and we get a lot of exposition about how the show was pirated onto RF signals and such. Honestly, this was the nadir of the show, but it still has promise, if the writers decide to stop feeding the story shots of nyquil and turkey sandwiches with gravy.
Hospital: Katie is under observation and their son Dane is in surgery. This will be an awkward Hallmark Card! Jessica (Katie’s mom) asks Mike to come back and talk to Katie. The Cop kinda doesn’t like this, but doesn’t put up much of a fight either. This is the theme of the whole episode…build up…fizzle…light random pop…fizzle. Mike goes to talk to Katie and sees a crayon picture on the wall depicting Candle Cove. He shows Katie the drawing, which….doesn’t achieve much. However, out of nowhere, Mike breaks the touch barrier with the kid, sending the dad into WTF-mode?! The action happens through a screen: once Mike leaves- the tooth monster snuggles Katie. This is creepy and gross, but not connected to the scene before it. Therefore, the discourse between Mike and Katie didn’t need to happen and was a time waster!
Mike goes back home and shows his mom the drawing. She believes it’s an “abandoned” cement plant. Mike and Mike’s Mom (MM) go to cleanest and still seemingly operational cement plant- No graffiti, no beer bottles, no trash, nothing to indicate that the cement plant is not kept up and will be turned back on in 30 minutes. In fact, it’s clinically clean. The art department really dropped the ball on this one. Mike goes into the spooooooky cement factory and finds his brother’s corpse. Then, Mike flashes back to stabbing his brother with a hook and burying him.
Mike goes to bed and sees the One-Character from Candle Cove who looks a lot like the lobster-thing from Futurama – upon research, it’s called Zoidberg and that’s what I’m calling this One-Eyed thing- Hi, Zoidberg. Zoidberg causes Mike to flash again to his mom talking to her beat up son. She says that when she told the bully’s parents, the bully’s mom laughed at her. This was not my upbringing. My mother, a 12 Generation Tarheel, is perpetually armed. If someone laughed at her after they had just ganged up and beat me up, I’d be visiting my badass Mom in Prison.
Mike goes to the kitchen and tells his mom, ‘BTDubs, I killed my brother.’ [paraphrased] She tells him to leave, he won’t, she cuts him with a big knife. Then, Mike takes a nap. I’m starting to wonder if any of these writers grew up with human families. The Cop shows up purportedly to arrest Mike, but not really. It’s very vague as to what he plans on doing besides putting him in the backseat of his car.
They make a big deal out of this backseat thing; therefore, I will address the stupidity. A cop needs to maintain control of a suspect for his safety and the safety of suspect. The car did not have a partition, therefore, having Mike in the back is stupid and dangerous. Furthermore, Mike is not restrained in any way. In this instance, the cop has a confessed murderer in custody and just has him in the back, with no cuffs, a clear shot taking out the cop, and relieving him of his service weapon! This show really needs to think sometimes with a bit of commonsense.
Cop doesn’t take Mike to the station; instead, Cop just keeps driving … for some reason. It’s not spooky, it’s just kinda dumb.
The show ends with Mike’s former English teacher feeding the tooth monster teeth. GROSS! Maybe, it’s Steve Martin under all of those teeth?!! HA HA!
The episode has some good creepy parts, but it seems to lack a strong reality through story to contrast the weirdo elements of the story. Channel Zero really needs to keep the real elements of the story real or this show will turn into a steaming pile very soon. I have a lot of faith that this was just a bad second episode, which is not uncommon if your pilot had so much meat that second episode seemed like leftovers. It would’ve benefitted from some sort of side-quest for Mike to accomplish.
Don’t get me wrong, I love them both. James Franco was great in 127 Hours and Anne Hathaway starred in the story of my life, Rachel Getting Married. But what exactly about either one of them screams “Oscar host?”
To be honest, Oscar Host has always seemed like a thankless job. Jon Stewart did a pretty good job a few years ago (and it was really cool how he brought Marketa Irglova back out on stage so she could give her speech after winning the award for best original song) but otherwise, is it really a job that anyone wants?
(And, even if Stewart was a great Oscar host, he’s been getting progressively more and more smug, annoying, and self-important ever since.)
Remember when Hugh Jackman hosted and he sang that song that just went on and on and then we all realized that we didn’t really like Hugh Jackman that much in the first place?
And I guess last year it was Steve Martin and Alec Baldwin and … yeah, that was really memorable.
Ellen DeGeneres hosted the Oscars and suddenly, she was a judge on American Idol and did that do anyone any good?
Actually, I think the ideal host would be someone like Jeff Probst, someone who would just smirk after the winner’s announced and ask the other nominees what it felt like to be losers.
Seriously, I’m worried for Franco and Hathaway. I think that perhaps in the future, the role of Oscar host should be reserved for people who are already generally acknowledged as being annoying. That way, at least, nobody will shed any tears when the Oscar Host Curse kicks in.
In 1978, just based on what I’ve read, everyone in America was regularly doing huge amounts of cocaine. Whether you were in a disco or at a PTA meeting, you knew that eventually someone would produce a small mirror covered with white powder. President Carter even snorted it during that year’s State of the Union speech. Sure, some people used gold spoons and others had to make do with a one dollar bill but, in the end, cocaine brought all Americans together as a nation and helped the country heal after the trauma of Watergate.
It also contributed to some the year’s best films. Days of Heaven, Superman, The Deer Hunter, Coming Home, Grease, Animal House, Interiors, Halloween, Midnight Express, Convoy, Go Tell The Spartans, and An Unmarried Woman; these were all films fueled by the Peruvian Headache Powder.
However, no discussion of 1978 cocaine-fueled films would be complete with mentioning Sgt. Pepper’s Lonely Hearts Club Band. Featuring songs originally performed by the Beatles and starring the Bee Gees, Peter Frampton, and a whole bunch of other people that my mom liked, Sgt. Pepper’s is a film that, quite honestly, should just be retitled 1978.
Plotwise — oh God, do I really have to try to describe the plot? Seriously, this could take forever. I mean, the film isn’t quite two hours long but a lot of stuff happens and really the only connection between any of it is that these odd cover tunes of classic Beatles songs keep popping up in the weirdest places. Okay, let me try to get this all into one paragraph —
There’s a small town called Heartland that is very small and simple but it’s also the home of the legendary Sgt. Pepper who, throughout history, has maintained world peace by playing his magic instruments. But then Sgt. Pepper dies and apparently turns into a gold weather vane. His magic instruments are given to the mayor of Heartland, Mr. Kite (George Burns, who also narrates the entire movie). The world is in mourning. But then one day, the Henderson Brothers (the Bee Gees) decide to form a new Sgt. Pepper’s Lonely Hearts Club Band and they invite Sgt. Pepper’s grandson, Billy Shears (played by Peter Frampton) to be their lead singer. Heartland rejoices and George Burns has a surprisingly sweet scene where he sings Fixing A Hole.
Anyway, the new band is such a hit that the owner of a record company invites them to come to Los Angeles and record an album. Billy says goodbye to his girlfriend, Strawberry Fields (Sandy Farina) and then joins the Hendersons in a hot air balloon which promptly leaves for California. En route, the balloon collides with an airplane but nobody is seriously injured.
In Los Angeles, they meet the record company owner and it turns out that he’s played by Donald Pleasence. (It’s interesting to think that Pleasence filmed this and Halloween around the same time.) Pleasence proceeds to sing the creepiest version of I Want You ever heard. I’d include a clip of the performance but Pleasence manages to go on for a good ten minutes, repeating “I want you,” in an odd little voice while staring at Peter Frampton.
The boys sign a contract with Pleasence. Billy Shears is led astray by Lucy and her band, the Diamonds. (Guess which song they get to sing.) Somehow, this allows Mean Mr. Mustard to steal Sgt. Pepper’s magic instruments. Mr. Mustard drives around in a yellow van and he’s assisted by two female robots who, at one point, sing She’s Leaving Home in their electronic, robot voices.
The band is informed that the instruments have been stolen. Outraged, they jump back in their hot air balloon and quickly start a recovery operation. It turns out that Mean Mr. Mustard has given the instruments to three separate villains.
The first villain is Dr. Maxwell Edison who uses his silver hammer to turn old people into boy scouts. This may sound ludicrous and silly but fortunately, Maxwell is played by Steve Martin. His cameo is one of the highlights of the film, if just because he seems to be one of the few people who actually enjoyed himself on set.
The second villain is the Reverend Sun. He brainwashes people or something. I’ve seen this movie a few times and I still can’t quite figure out what Reverend Sun’s deal is. When I first saw this movie, I got excited because I thought that Tom Savini was playing Rev. Sun. Then I forced my sister Erin to watch the movie and she told me I was stupid because Rev. Sun was obviously being played by Frank Zappa. Well, I did some reasearch and discovered that we’re both stupid. That’s neither Savini nor Zappa. It’s Alice Cooper.
The final villains are played by a very young (and very, very hot!) Aerosmith. Here, they are called the Future Villain Band and oh my God, Joe Perry…this film needed a lot more Joe Perry. I mean, it’s understandable that Steve Tyler gets most of the screen time and young Steve actually looks pretty good in a Mick Jagger sort of way but Joe Perry…Oh. My. God. Anyway, Aerosmith does a cover of Come Together and Joe Perry circa 1978 was just so freaking gorgeous, oh my God. Eventually, Frampton and the Bee Gees come along and ruin things by getting into a fight with Steve Tyler which leads to the camera constantly cutting away from Joe Perry who is really, really, really hot and all kinds of sexy in this movie. They should have just called this movie Joe Perry. Oh. My. God.
Uhmm, where was I? Oh yeah — so, anyway, eventually the weather vane comes to life and suddenly, Sgt. Pepper’s a black man who sings Get Back and ends up magically resetting the past and turning Mean Mr. Mustard into an altar boy or something like that. Oh, and the Bee Gee who looks like a New Age healer ends up singing my favorite Beatles song, A Day in the Life.
Finally, it appears that every single person on the planet shows up in the film’s final scene where a huge group of “stars” show up and sing the film’s title tune one last time. In the end credits, these people are listed as being “Our Guests At Heartland.” Doing some research (i.e., looking the thing up in Wikipedia), I’ve discovered that these folks were apparently all pop cultural icons in the 70s. I didn’t recognize a single one of them but I’m sure they probably all snorted a lot of cocaine.
(And, by the way, Joe Perry does not get to return for the finale so bleh on you, movie.)
For some reason, this movie kept showing up on Starz last November and that’s where I first discovered it. The first time I saw it, I came in right at the start of Steve Martin’s cameo and the film itself was so just plain weird that I had to jump on twitter and let the world know what I was watching. (Actually, it doesn’t take much to make me jump on twitter and tell the world what I’m doing.) As a result, I soon discovered that, apparently, I was the only person on the planet who didn’t know about this film.
Sgt. Pepper’s Lonely Hearts Club Band is really a pretty bad movie. The plot tries way too hard, the pacing is terrible with some scenes lasting forever and others ending before they really start, and Frampton and the Bee Gees are all distinguished by an utter lack of charisma. The youngest Bee Gee appears to be cheerfully stoned throughout the entire movie while the other two (and Frampton) are trying way too hard to act.
And yet, the film fascinates me. After I saw it the first time, I forced my sister to watch it with me a second time. I then watched it again on my own. Finally, I went down to the local Fry’s and nearly did a happy little dance when I found it on DVD. I’ve watched it since several times. Whenever I’m depressed, it always cheers me up.
What’s the appeal? Some of it is definitely the whole “so-bad-its-good” thing. Actually, that’s probably most of it. Another thing fascinating thing is how literally the filmmakers choose to interpret the Beatles lyrics. Considering the fact that the Beatles themselves were rather open about the fact that a lot of their lyrics were simply nonsense and word games, it’s interesting to try to understand logic behind trying to force them into a coherent storyline. (This is also the appeal of 2007’s Across The Universe, which is technically a better movie than Sgt. Pepper’s but isn’t half as fun to watch.) For instance, Billy Shears isn’t in the film because he’s an interesting character. Instead, he’s just here because — 10 years earlier — either John Lennon or Paul McCartney choose to toss the name into a song. We’re never quite sure what Mean Mr. Mustard’s dastardly motivation is beyond the fact that the filmmakers had the rights to his song. If nothing else, the film is an interesting example of what happens when people try to create a novel out of somebody else’s short story.
However, I think the main appeal of Sgt. Pepper’s is the appeal of 1978. Watching the movie, you feel almost as if you’re literally sitting beside the cast at Studio 54, watching as everyone snorts a line. I think that, for future historians, this film may very well turn out to be a cinematic Rosetta Stone.
Then again, maybe it really is just so bad that it’s good.
Through the Shattered Lens 